Word: hecht
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Dates: during 1970-1979
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...furor began when the New York Times, advancing further in its holy war against the Met, charged that the vase was booty dug up by grave robbers at an Etruscan site north of Rome in 1971 and illegally sold to an expatriate American named Robert E. Hecht Jr. He in turn, so the story went, smuggled the vase out of Italy and sold it to the Met. In 1970 UNESCO adopted a draft prohibiting illicit traffic in art objects. The calyx krater would come under that provision, and both the U.S. and Italy have signed the pact...
...from a European collection where it had rested since "before World War I." With the atmosphere already full of acrimony over Met policies (TIME, Feb. 26), the museum's officials were aloof and cautious. The curator of Greek and Roman Art, Dietrich von Bothmer, did admit that Hecht was the dealer. But at first he refused to identify Hecht's source, adding with either remarkable disingenuousness or extraordinary lack of judgment that the name was difficult to spell and he couldn't remember it. Eventually, under pressure, Bothmer produced that hard-to-spell name and some letters...
...father, who acquired it "by exchange with an amateur against a collection of Greek and Roman coins in 1920 in London." Offered earlier and more willingly, that evidence might have settled things. But by now charges and countercharges were shooting back and forth across the Atlantic. Reporters were pursuing Hecht, Sarrafian, Met Director Thomas Moving and a restorer in Zurich named Fritz Buerki, who had expertly repaired the calyx krater for Hecht...
...creating a wise fool as captivatingly human as Sganarelle. John McMartin plays this role to droll perfection, both physically and psychologically. His face and his body operate on alternating currents as he is by turns appalled, amazed and fascinated by Don Juan's behavior. As the Don, Paul Hecht is the compleat cynic and as seductive as the hell he courts...
...Festival debuts of Paul Hecht and Salome Jens fall short of one's hopes, the same cannot be said of the debut here of Philip Kerr, who plays Octavius in both Caesar and Antony. His is classical acting of the first order. His three scenes as a 20-year-old in Caesar are enough to indicate his cool command of his craft. In Antony he has 13 scenes as the young triumvir who emerges victorious and will soon become Emperor Augustus. Kerr's acorn grows into a strong...